I am so beastly tired of mankind and the world that nothing can interest me unless it contains a couple of murders on each page or deals with the horrors unnameable and unaccountable that leer down from the external universes.
If religion were true, its followers would not try to bludgeon their young into an artificial conformity; but would merely insist on their unbending quest for truth, irrespective of artificial backgrounds or practical consequences.
You see them? You see the things that float and flop about you and through you ever moment of your life? You see the creatures that form what men call the pure air and the blue sky? Have I not succeeded in breaking down the barrier; have I not shown you worlds that no other living men have seen?
I can look back . . . at two distinct periods of opinion whose foundations I have successively come to distrust - a period before 1919 or so, when the weight of classic authority unduly influenced me, and another period from 1919 to about 1925, when I placed too high a value on the elements of revolt, florid colour, and emotional extravagance or intensity.
I am Providence, and Providence is myself - together, indissolubly as one, we stand thro' the ages; a fixt monument set aeternally in the shadow of Durfee's ice-clad peak!
Good and evil and beauty and ugliness are only ornamental fruits of perspective, whose sole value lies in their linkage to what chance made our fathers think and feel, and whose finer details are different for every race and culture.
Any magazine-cover hack can splash paint around wildly and call it a nightmare, or a witches sabbath or a portrait of the devil; but only a great painter can make such a thing really scare or ring true. That's because only a real artist knows the anatomy of the terrible, or the physiology of fear.
All my tales are based on the fundamental premise that common human laws and interests and emotions have no validity or significance in the vast cosmos-at-large.